design workshop toni pringle
B1. B2. B3.
INTRODUCTION DESIGN WORKSHOP
DESIGN THINKING AND AGENDAS
DESIGN SPRINTS
B1.
By drawing out elements of everyday urban life, city symphonies were able to reproduce this cinematic experience on screen. These city symphonies construct a rhetorical argument of the city without the traditional dynamic, based on a main protagonist. The movie genre, featuring scenes of the city life was generally shot on location with little to no set design. Locations such as train stations, factories, market places, became quintessential in the portrayal of the modern world on screen. Additionally, to represent the most realistic microcosm of the city, real life people were cast as real life versions of themselves. The city as the main ‘character’ is characterized as an artificial reality with use of montage sequences with internal consistency, and the manipulation of image in an urban setting. This complex and consistent method is an ideal precedent for the production. The success of the city symphony is largely dependent on the ability of authors to communicate their visions of the city to audiences. Dziga Vertov’s Man with the movie camera exclusively explores the public places within the city bypassing almost all private places. Vertov constructs the film, highlighting collective living in the ideal socialist city through architectural types such as workers clubs, communal housing and factories.
Spatial Dialectics
CITY SYMPHONY
URBAN LIFE R E A L I T Y
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I really enjoy watching movies not only for the narrative but I genuinely appreciate the art of film making. The ‘Spatial dialectics’ chapter from Digital Creativity allowed me to recognize such an outstanding quality films share with the audience I had never apprehended before (quite embarrassingly), and that is of the relationship between life and architecture on screen! The movie genre ‘City Symphonies’ successfully captures this notion and brings a somewhat realistic illustration of collective living through adaptations of urban life. This movie genre has never really ended with city life being explored in many ways from New York in Sex in the City to Iran in a recent film I watched called Argo. These different representations of people with architecture within the city creates a somewhat relatable and empathetic perception of place and time – allowing us to almost feel that we are in the crowded bazaar in Iran or amongst the hustle-and-bustle of NYC in a yellow cab. Film Director Wes Anderson, is an exemplary precedent of the art, combining life and architecture, with the use of symmetry as the glue. The film formalist elegantly composes one point perspective with use of hallways and doors, an identifiable style that most film makers are advised to avoid. The scenes in his films capture the essence of the City Symphonies with his own stylistic approach, allowing his meticulous attention to detail to shine through, though not overshadowing the overarching theme or storyline.
LIFE AND ARCHITECTURE ON SCREEN
Scene from Argo (2012), displaying protagonist Tony Mendez (played by Ben Affleck) walking through crowded bazaar in Iran. Image encapsulates fear and attention to the Americans during a time of conflict between the two countries.
I captured this image on a recent trip to India. I felt incredibly blessed at this moment at how well I timed being stood in front of the historic Hawa Mahal and that this wonderful woman decided to wear this pink Sari on the day. Basically my point of including this image in the Cinema and Architecture section of my journal, was not just to share my favorite photo of my trip but to discuss the connection we have in our everyday life with architecture; the ability for a producer to replicate it is merely a bonus. Everyday we take for granted architecture’s beauty, comfort, and mere existence. However I have fortunately become more aware of it now after this weeks discussion and learnings, the connection of space, our circulation within a city, or simply even walking past a building dressed perfectly to represent the microcosm of ‘the Pink City’. To the right is a still from the short montage film i created in between roof forms in architecture and the outside world, a shopping complexes here in Melbourne. Click mouse over
hope to capture the connection common feature in many new left image to activate video.
To design a house for 2 artists with: 2 bathrooms, 2 bedrooms, and a communal kitchen/studio space – this immediately made me think of the ReActor house by artists Ward Shelley and Alex Schweder. The house is situated atop a column allowing it to rotate and tilt with the artist’s movements. The symmetrical living space creates a “social relationship architecture” (similarly to cinema and architecture…), making it quintessential for the artists to mimic one and other movements in order to live ‘balanced’ within the sculpture. When it came to this design task I could not shake this notion of symmetry for the life of me, however with multiple sketches myself and another class member were able to create a circular version of the this symmetry with a kitchen central but at a second level, almost like I viewing platform above the studio and living spaces. We created the space as open with just dividing walls to hide beds. The only covered space was the bathroom located beneath the kitchen, centrally located for each artist. These images explore quick model making to show the form of the design.
DESIGN TASK 5. “Architecture exists, like cinema, in the dimension of time and movement” jean nouvel
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Map the circulation flow in and around a building at 3 different times of day Consider how these flows determine success and failure of design
2.
Create a short video highlighting the success and failures found in the previous task Capture the users connection with the space
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Consider how the user connection could be developed to enhance the user experience based on the short video
B2.
A design decision can be affiliated to a number of steps within the design process; from selecting a design, too selecting a method of design. Each design decision is executed by applying a number of steps to What, How, and Outcome: 1. • • • • 2. • • • • 3. • •
What: Attack context – what am I trying to achieve? Suspend judgement – what different opportunities are there? Embrace complexity – Have lots of options! Expand and concentrate – broaden your field of understanding How: Search for Patterns – Is your design process always the same? - Identify and explain patterns Deepen the themes - investigate options to achieve the ‘aim’ Sharpen the frames – communicate your interpretations clearly Be Prepared - Support your interpretation to show your journey Outcome: Create the moment – what advice can you get to resolve ideas Follow through – is what is being said match the design?
By understanding our decision making we are more likely to understand our design. Whilst designing, it is important to ensure we keep an open mind to change, don’t just anchor down on one idea or belief (often something stubborn me can do). Don’t just do something because it worked the last time, a better, easier, more successful way could be found – if not hey I’ve branched out and tried something new! Often I find myself rushed for time and therefore struggle to be able to try something new, so I hope that in my next studio I attempt more prototyping – a skill I really lack that results in me not exploring my full design potential.
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Brief
Context
Research
Composition
What different opportunity’s are there?
Have LOTS of options! Consider what you could learn from previous design projects?
Deepen the design theme to gain a more direct aim!
Further investigation into ‘user’. Explore precedent studies at this point: How can they aid the design? What can you learn? What was good/bad?
Movement, circulation, and scale - What is the best layout for the Design?
What am I trying to achieve?
Consider the site and who is involved with design, materiality, use and function. How can these be resolved?
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Visualization
Modeling
Feedback
Final Design
Communicate your interpretation clearly!
Explore different options, broaden your form generating process
What advice can you get to resolve ideas? Incorporate feedback.
Is what is being said match the design?
Sketch and Diagram - Does form justify context?
3D form generating scale, proportions - How does this further the design potential?
Client - stakeholders Engineers - user - How does this feedback alter the design?
Document Present Reflect!
“The most effective, most creative problem solvers engage in a process of meta-thinking, or thinking about the thinking.� matthew frederick
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What needs to be solved? How could these problems be solved? Where is this design project to take place? Who is it targeted to? How will it be used? Precedent studies: Was their design good/bad Precedent studies: What can I learn from their mistakes and successes? What is the best tool to explore layout? What is the best layout? How can I draw this to best display my ideas? Should I prototype with models to show/find form? 3D model and drawing: How has bringing my idea to a 3 dimensional form going to change it? What needs to change? How can I present to successfully convey my design ideas for feedback? Who will i ask for initial feedback? Who will I ask for more constructive feedback? How will this feedback alter the design? Should I re draw? Should I re model? How can I present to successfully convey my final design idea?
It became apparent to me in this lecture that words hurt! I don’t like my ideas being knocked back and struggle to move on once they have been. A human characteristic I know, but I feel like I lack confidence in conveying my initial design ideas and therefore already feel confusion and anxiety towards negative remarks from tutors. How I can move on from this? – I suppose gaining confidence in myself in order to persuade others with my designs, this could come from further investigations into precedent studies that aren’t just architects, or more prototyping rather than just stopping when I give up, and most definitely TIME MANAGEMENT! Something I definitely need to work on to improve my design quality and furthermore, confidence.
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A personal display of how I feel my design process and thinking is represented up to date.
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Develop a student led design task that will take approximately 1 hour to complete, then consider what could be changed in order to improve it! Below is Bui’s design task which i completed, creating a reading maze where people could socialize, read, and interact through means of circulation.
Brief: a space for people to come in, relax, read and move around, talk to each other. Follow these 3 steps: Through drawings and descriptions: 1. (Technology): Determine the objects of/inside/outside... the space. How can people interact with these objects? How the objects help people experience the space? 2. (Amenity): Determine the movements and imagine the interaction between people? 3. (Poetry): Determine the overall shape/form of the space. What materials will be used? After finish, rearrange the order and design another space.
DESIGN
TASK
RE-IMAGINED
A space for people to come in, relax, read, move, socialize. Follow three steps using drawings and descriptions: 1. Poetry: overall shape and form of space. [insert design generating tool. i.e. crazy nine, Parti diagram] Having poetry as the first task I found to be more feasible, allowing more design development when considering movement, interaction and objects in the space for the tasks to follow. 2. Technology: Determine objects in/out of the space – consider the experience this could evoke Having some form of boundary for these objects will narrow down the design potential thus flow of the project at hand. With consideration and restrictions to the objects a connection between them and the shape and form of the space can be created. 3. Amenity: Determine the movement and interaction between people within the space The consideration of movement and interaction will provide a greater connection to the space and surrounding objects. This will allow the designer to finalize the design appropriate to the ‘relax, read, move, and interact’ aspects of the initial brief, therefore creating a better user experience consideration towards the final design.
DESIGN TASK 6.
Don’t expect praise - then when it comes, you will really feel it!
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Goal of the project: be clear and concise, outline what CAN’T be changed
Present as if you would to a client
Limit the options: Don’t seek everyones feedback, too many opinions will lead to confusion
Ask targeted questions : e.g. What was memorable? What is clear/ confusing?
Ask WHY?: Question the negatives to further uncover why they are identified - don’t argue!
Take ALL feedback positively: You cant think of everything
B3.
Design as a discipline could be related to a phobia in the sense of overcoming and fearing. We, well I know, me, struggle to move on from an idea despite being able to develop it, or sometimes ignore the truth because its too hard. But just like that phobia, it is best overcome, because the unknown beyond our fears is the most exciting part. So how can we move on from this design phobia? • Take a break • Change design reference • Try a new medium to work with • Set time constrains • Meditate - I have recently been listening to meditation music to block background noise and its actually super helpful If the blockage continues maybe the mode of exploration needs some reconsideration. Shifting exploration could lead to possibilities beyond the current skill set or what your mind could imagine. Try moving what you have already, weather it be upside down or rotating the plan 90 degrees. Could the drawing instead be diagrams or words (writing architecture will help when presenting showing complete knowledge and confidence in design).
GET UN STUCK
The ability to recognize where the block has occurred is an extremely useful tool to acquire. Acknowledging what caused it is even more. Common design blocks include: fear, taboos, environmental limitations, inadequate approach, or inappropriate expression of ideas.
S C A M P E R
Substitute
Combine
Adapt
Modify / magnify
Put it to another use
Eliminate
Reverse / rearrange
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Clone Decompose Counterbalance Elaborate Graft Idea Unfolding
Use tools such as: repetition, series, create variations of themes, create sets
Fractals, hierarchy, fracturing - increase complexity
Opposition, suites: a bunch of things working together as a group that don’t look alike. Narrative: Shift of buildings as characters
Build on hints of ideas through: doodling, mutating, or morphing
Adding different ideas to the root idea: golden mean, religion, symmetry
Unfolding of ideas explaining a scheme in a series of steps
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Consider the unknown, exploring the data and condition of what is given or at hand. Separate these unknowns and attempt to draw them, this will help understanding.
Understand the Problem
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Can the problem be related to something experienced before? If so consider the similarities of the new and old problems what can be taught
Devise a Plan
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Carry out a plan with careful consideration that each step is completed correctly and successfully
Carry out Plan
4 Examine Solution
Consider the results obtained - can they be used again to solve other issues? Could the result have been different?
Put to other uses:
Is there a new way this can be done, or used? In studio air i attempted this with computational design and the endless possibilities and outcomes
Is there anything else like this?
Consider what this suggests - could whats been done in the past assist in furthering the design in both improving or learning from others mistakes.
Modify:
Try change the meaning - this could open a whole new world of possibilities for the design. Try change colour, form, and shape too!
Magnify:
What could be added to the design? Experiment with thickness, length, strength. Multiply or duplicate elements.
Minify:
What could be taken away? Explore smaller, condensed, lower or lighter elements - split parts up!
Substitute:
What else instead? Try to replace elements with something different
Rearrange:
Experiment with interchanging components and patterns - this could be a design generating tool too.
Reverse:
Flip it upside down, on its head or side
Combine:
Blend it all together - see what new combinations could appear
1. • Make lists 2. • Carry notebook 3. • Try free writing 4. • Get away from the computer 5. • Quite beating up yourself 6. • Take breaks 7. • Sing in the shower 8. • Drink coffee 9. • Listen to music 10. • Be open 11. • Surround yourself with creative people 12. • Get feedback 13. • Collaborate 14. • Don’t give up 15. • Practice 16. • Allow yourself to make mistakes 17. • Go somewhere new 18. • 1Count your blessings 19. • Get lots of rest – I say, despite the fact I know I’ll be up ,mjgfdf late doing homework and have work early tomorrow 20. • Take risks 21. • Break the rules 22. • Don’t force it 23. • Read a page in the dictionary 24. • Create a framework 25. • Stop trying to be someone else’s perfect a 26. • Got an idea? - Write it down 27. • jgkClean hgjk your workspace – i tried to work all day and jgkhjj jg couldn’t until my room was clean, messy life = messy kjkjhjhg mind 28. • Have fun 29. • Finish something
DESIGN TASK 7.
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Look back to a previous design task complete. Analyze and take note of where and when went wrong?
2.
Look back to a previous design task you completed. Analyze and take note of where you went wrong and when?
3.
Develop ways to overcome these design blocks and keep not of them for previous design tasks.
4.
Attempt to alter where you went wrong with your new tools on overcoming the blocks - you need to be sure they work!
TONI PRINGLE 83404530
SUBMISSION B
DESIGN WORKSHOP